Everard's Printing Works

 I love unique hotels. The quirkier the better. Caveats: must be clean, quiet, safe and must smell good.

When I planned my May visit to family in UK, I chose a couple of solo stays, to allow for some exploring in places I hadn't spent enough (or any) time in. One was Bristol. Den and I had long talked about visiting the Clifton Suspension Bridge in that city. His engineering background led him (and ultimately me) to a fascination with industrial advances: steam trains, ironworks, hydraulic and mechanical wonders and over the years we spent many happy times exploring them together.

So, as an homage of sorts, I was determined to visit the bridge, and after doing some research, equally determined to see more of Bristol's built heritage.

 My dear niece drove me to Bristol, we lunched and she headed out on the long and challenging drive home. I shall always remember her generosity. I loved the time with her.

Tina left me at The Everard, a new build Clayton Hotel hiding behind the astonishing rescued facade of the Everard Printing Works (1900-1970). Throughout the hotel were numerous design motifs recalling the printing industry, created by local artists. The decor was modernist and original, the ambiance welcoming. And it was my home for two lovely days.

The Grade II listed building was demolished in 1970 but for the front and and a section of the rear facades; the rest was replaced by modern office buildings for years but the property fell into disuse, and was almost lost. It was only in 2022 that Clayton hotels opened at the site. And what a comeback.

Controversial for the time, the Art Nouveau design  paid homage to William Morris and Johannes Gutenberg. The building is considered one of the few remaining examples of English Art Nouveau in Britain, and its largest. This Web.Archive article was printed in the journal of the William Morris Society 

I am batty for glazed ceramic tiles and the complexity of Art Nouveau design, but just couldn't get close enough for good photos. Fortunately, some of the links I've included give us a better look. The heritage listing states the facade is "an important early use of glazed coloured external ware to propogate Arts and Crafts ideas of the reconciliation of art and industry, in the largest decorative facade of its kind in Britain." Doulton's of Lambeth were in charge of producing the tiles. William James Neatby, their head artist, created the design. The white glazed ceramic tiles were dubbed Doulton Carrara, because their creamy surface resembled marble. 

Of Everard it has been said that he regarded printing as a craft, not a business, and that his ideal was William Morris' Kelmscott Press. I think his inspiration would be pleased.

The Art Nouveau building front recounts the story of printing. At the top a tympanum of sorts containing a female figure holding a mirror (truth) and lamp (light). Below a battlement, we see Johannes Gutenburg, father of printing and William Morris who revived craftsmanship, with their styles of typeface. The Spirit of Literature spreads its wings over the arched windows. Everard's name in tiles in the typeface he created, and his intitials in the wrought iron front gates complete this triumphant bit of advertising. (credit: Bristol Past website). An exquisite horizontal band of stylized trees and hearts tops the front entrance and deep blue tiles clad the building at street level.

The back of the building at 1 John Street is of  red terra cotta brick. Preserved are interesting details like rounded Romanesque arches, billets, tourelles and crenellation, dragon rain water heads. And note the grey concrete businesslike walls rising behind this second preserved facade.Here's a Streetview visit.

I have wondered about this 'fireplace' in the lobby. The luscious 'Edward  Everard Printer' Art Nouveau ceramic panel and terra cotta dragons are an uncomfortable marriage. Having had a look at the rear of the old building on John Street, it's quite clear the dragon is one of the original rainwater heads. Surely I'm not the first to notice that. I wonder if the panel is original? And if so, where was it?

I've been reading about the huge effort that went into preserving the integrity of the building's history, while moving forward with a massive mixed-use redevelopment scheme, on this site. Kudos to AlecFrench architects and owner Artisan Real Estate. A good result, I would think, all considered.